For over a decade, Revenge has persisted in cultivating what is arguably one of the most confrontational sounds in the metal underground. Immediate, controlled and utterly violent, their work stands alone in the depth of its hostility and refusal to follow trends.
On their earliest releases, Revenge established a particular sound and general approach to their music that released itself as a cacophonous flood of manic aggression. Their music has continued to evolve through the years, however, and the release of 2008’s “Infiltration.Downfall.Death” saw the band expand its approach to utilize a wider variety of song structures and recording techniques to strengthen its musical assault. Their new album, “Scum.Collapse.Eradication” continues in this vein, with further development in the way the songs are presented augmenting the extremity of the violent chaotic architecture that Revenge created with their previous output.
While Revenge still predominantly relies upon the relentless blasting fury for which they have always been revered, this album, like the last, is punctuated by moments of mid paced sections hammering down into doom ridden bulldozer riffs showing the band striking a perfect balance between genocidal annihilation and individualized slow painful crushing destruction. Additionally, the raw and chaotic production that Revenge utilized on much of their earlier work has been wisely expanded upon just enough to reveal the full spectrum of the instrumentation. While maintaining a very strict dedication to the original sound, aesthetic and structure that has been the foundation of the band since the very beginning. These strategic adaptations have made the songs even more potent and to the point.
The elite, strengthen themselves, and leave the weak behind, and this is precisely the approach that Revenge has taken with this new release. As usual, Revenge’s sound is caustic with the obsessive fury of J. Read’s insane percussive assault and rabid, spiteful vocals. While long time session member Vermin offers a thick and grinding guitar and bass attack beyond anything heard on the bands previous albums.
Consumed with contempt, Revenge continue to press forward walking alone above the weak scum with absolute disregard for all who question their approach. This militant doctrine defines all of Revenge’s work, but it is most prominent on this, their fourth album. All unnecessary elements have been stripped and discarded leaving only the most effective weapons in the Revenge arsenal with which to continue down the supremacist path of undying intolerance for the swine known as mankind.

“ The scam has come undone. Move on it or step aside. Take your place at the back of the line. When it’s time to move equalization begins. Behold forced correction.”

As with all of Winterblut’s releases, the debut album “Der 6. Danach” is an ambitious and astounding work of black art. Originally released in 1999 under the banner of Darker Than Black Records, this album was the first proper full-length Winterblut recording and began the unfolding of what would become one of the most unique catalogs in Black Metal. For this vinyl release, L’hiver, after years of assessing the impact of this recording, has reorganized the tracks to better suit the various stages of the work. The first of the two LPs, subtitled “Opus 1: Leidenswege,” is primal Black Metal. Directed by aggressive percussion, the tracks on this LP are, for the most part, attacking and pure. The songs forming the body of Opus 1 demonstrate the intense musculature of the corpus of Winterblut’s sound. As Opus 1 progresses, this corpus is gradually defleshed leaving only the bleak consciousness of the music. A greater influx of the atmospheric and ethereal elements begins to manifest giving way to the tracks on “Opus 2: Geistmusik” and “Opus 3: Orgelmusik.” With these songs, L’hiver sought to attain an even darker sounding Black Metal by utilizing only keyboards, drums and vocals. Assisted by a talented session keyboard player, L’hiver descends deep into cold and impersonal realms with the songs here. While Winterblut may not be the only band to have attempted to create dark Black Metal without the use of guitars, the second half of this album is perhaps the most successful of these efforts. From its inception, Winterblut has remained unpredictable and mysterious. “Der 6. Danach” offers a glimpse of the mission that L’hiver would carry out over the next 13 years after the release of this album and reveals the vast spectrum of Winterblut’s sound.

The vinyl version will be world wide. I am not sure what Osmose is planning for their vinyl version.

So you won't include it in an order when someome from the EU orders it? I don't really care about it, I'm just curious why someone from the EU isn't allowed to order the American version of the CD._________________

So the postage ands up being 16 bucks vs 9 euros for a single cd, its only worth ordering from osmose if it get 3 plus items at least, and NWN is a no go (which is fair enough)...oh well_________________